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Label(s): Elite Classics
Composer:
Ludwig van Beethoven
Piano Concerto No.5 in E flat, Op.73 Emperior
1. I. Allegro
2. II. Adagio un poco mosso
3. III. Rondo. Allegro
Claudio Arrau
Royal Concert Gebouw Orchestra
Bernard Haitink
Triple Concerto for Piano, Violin & Cello in C, Op.56
4. I. Allegro
5. II. Largo
6. III. Rondo alia Polacca
Claudio Arrau
New Philharmonia Orchestra
Eliahu Inbal
![]() | asin: B0001ZM8TK binding: Audio CD list price: $16.98 USD amazon price: $10.97 USD |
The Beethoven Triple Concerto is a strange work, with the most important---or at least prominent---solos given to the cello; it is the instrument which introduces each movement. The remarkable Martha Argerich wisely allows Mischa Maisky to shine in his solos and leading position, but her contribution is anything but back seat. Her customary virtuosity is everywhere in evidence, and, in a way, she turns the piano into the spinal column of the work, with the violin and cello playing around her.
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FOUR GRAMMY AWARD WINNING ARTISTS ON ONE DISC. As Beethoven himself was well aware, his Concerto for Piano, Violin and Cello - commonly called the "Triple Concerto" - was unique in musical literature. No one had ever written for this combination of solo instruments and orchestra. The Triple Concerto was first performed in Vienna in 1804, and apparently never again in Beethoven's lifetime!
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Bernard Haitink is not usually thought of as an eminent Beethoven conductor, but this 7th Symphony is perhaps his best-recorded performance of any of the nine. Possibly due to the live concert setting, sparks fly as Haitink induces plenty of rhythmic drive and power, along with fabulous playing by an energized LSO, especially the important winds. His balanced, proportionate approach falls midway between the work's romanticism and its classical framework, avoiding excesses.
![]() | author: Ludwig van Beethoven asin: 0486401480 binding: Paperback list price: $14.95 USD amazon price: $14.95 USD |
Two of the composer's most innovative and original works — teeming with his characteristic perfection of detail, grandeur of effect, and intense emotionalism — appear in this inexpensive, high-quality volume. Reprinted from the authoritative Breitkopf & Härtel editions. Contents. Instrumentation. Text of Fantasia.
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It would be difficult, perhaps impossible, to assemble a better group of musicians to perform Beethoven's Triple Concerto and Choral Fantasy. Daniel Barenboim has been so busy conducting the world's top orchestras and opera companies that there is a danger of forgetting what an excellent pianist he is.
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Hands down, this is the recording to own of two of Beethoven's chamber music masterpieces, the Kreutzer and Spring Sonatas. It captures one of classical music's greatest duos--Vladimir Ashkenazy and Itzhak Perlman--at the height of their powers, and the results are glorious, made only better by a great digital remastering. The 1973 recording of the Kreutzer is filled with impassioned playing (particularly in the case of Perlman) and spot-on tonality. The first movement is unbelievably riveting in the duo's capable hands. Spring is slightly more restrained, but just as beautiful. Simply gorgeous. --Jason Verlinde
![]() | author: Beethoven asin: B000LRYPTE binding: Digital list price: $2.75 USD amazon price: $2.75 USD |
Downloadable sheet music file
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This two-disc set commemorates the 50th anniversary of the founding of the Marlboro Music Festival in Vermont by several distinguished European musicians, including violinist Adolf Busch; his brother, cellist Herman Busch; and his son-in-law, pianist Rudolf Serkin. Marlboro, a unique community of artists of different generations and backgrounds who inspire and teach one another, has opened the world of chamber music to many young musicians and become a breeding ground for fledgling ensembles. Many of the participants on this recording are now renowned soloists, chamber musicians, and orchestra principals. And the playing is fabulous. In the Beethoven Concerto, Serkin plays with a beautiful sound, great expressiveness, and freedom, taking all the time in the world to caress every note and nuance; his transitions are miracles of poise, his climaxes are grand. In the slow movement, a supplicant pleads with a stern deity; in the finale, humanity's joy of life is restored. Schneider's conducting is sympathetic, but not always synchronized with the soloist. Serkin's son Peter conducts the Choral Fantasy, a piece hastily written for a special occasion and its performing forces, not unlike those at Marlboro. Together with its message of musical uplift (no text is included), this makes it singularly appropriate for the Festival, though with its bombastic beginning and somewhat trite Theme and Variations, it depends on the performers' enthusiasm to make it work. The second disc features the strings and winds. Dvorák's Quintet Op. 77, an early work despite the late opus number, adds a bass to the string quartet, enhancing the sonority and allowing the cellist free use of the upper register. The performance, which includes the second movement Dvorák later removed and recast as an orchestral Nocturne, is beautiful, making the most of the work's youthful exuberance and lovely Bohemian melodies, and almost concealing the composer's still imperfect command of developing his material. By contrast, Janácek wrote his wind sextet Youth when he was 70, at the peak of his mature skill, yet it, too, has an amazingly fresh, buoyant vitality. Vigorous, mournful, spooky, lyrical--its mercurial moods and beguiling melodies make it irresistible, and the performance is terrific. --Edith Eisler
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John O'Conor's complete set of Beethoven piano sonatas is a monumental achievement, not only for the sheer volume of music recorded, but for its coherent interpretive scope and its successful illumination of developmental aspects of Beethoven's ever-evolving style. The sound, too, is a revelation, perfectly capturing O'Conor's Hamburg Steinway in the ideal acoustics of Mechanics Hall in Worcester, Massachusetts. --David Vernier